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Last 50 reviews
Boxset/Compilation, 2010
4.32 | 6 ratings

The Essential Box Set Collection
Area Rock Progressivo Italiano

Review by VianaProghead
Prog Reviewer

Review N� 500

"The Essential Box Set Collection" is a very special compilation album from Area which was released in 2010. This is an interesting package that includes their debut studio album "Arbeit Macht Frei", from 1973, their second studio album "Caution Radiation Area" from 1974, their third studio album "Crac!" from 1975, their fourth studio album "Maledetti" from 1976, their debut live album "Are(A)zione" from 1975 and their second live album "Event '76" from 1979.

As I've already reviewed these six albums previously on Progarchives, in a more extensive way, I'm not going to do it again. So, if you are interested to know, in more detail, what I wrote about them before, I invite you to read all those reviews. However, in here, I'm going to write something about them in a more short way. So, of course, I'm not going to analyze them track by track, as I made before, but I'm only going to make a global appreciation of all those albums.

"Arbeit Macht Frei": "Arbeit Macht Frei" is a pure jazz rock/fusion album with great intensity. This will probably appeal more to fusion lovers and avant-prog fans than to the average RPI fans. It's more adventurous and challenging. It's emotional and unforgettable. It's an adventurous and intricate album that will repel some and compel others. This is one of the most important Italian prog albums of the 70's, one of the best releases of that sub-genre. "Arbeit Macht Frei" put Area at the level of their compatriots, Banco Del Mutuo Soccorso, Premiata Forneria Marconi and Le Orme.

"Caution Radiation Area": "Caution Radiation Area" is very different from "Arbeit Macht Frei". "Arbeit Macht Frei" represents Area's early sound, eith folk melodies, Canterbury Scene sound, acid psychedelic stile and avant-garde experimental jazz, all together filtered and mixed through a special Italian sensibility and taste. "Caution Radiation Area" is more experimental with electronic effects. It's the album where the experimental music was more introduced. It's darker and intends to provoke and disturb the usual listener. It's more "radioactive" and needs a caution approach.

"Crac!": "Crac!" has a great mix between jazz and RPI. It has a perfect fusion between the instrumental parts and Demetrio vocals in RPI. It has some of the best and most popular songs of the band, "L'Elefante Bianco", "La Mela Di Odessa" and "Gioia I Rivoluzione", keeping the long instrumental parts, one of the greatest features of Area. "Crac!" is one of the most influential albums in the Italian prog scene. It's a classic album in its genre and is highly recommended for those who love to check something different and fresh. This album should be part of every serious prog collection.

"Are(A)zione": "Are(a)zione" is an excellent live album. It's probably their best live album. The live versions are closer to the original versions. It's a short album with only five tracks. Still, it has two lengthy amazing tracks "Luglio, Agosto, Settembre (Nero)" from "Arbeit Macht Frei" and also the title track "Are(A)zione", which is an original track. So, "Are(A)zione" is perhaps the perfect choice for anyone to start with Area, and in some way it tells their story better than the band's studio albums, or even better than their compilations. This is an excellent addition to any prog collection.

"Maledetti": "Maledetti" is much more experimental than their previous third studio album "Crac!". Its music is chaotic with several influences like traditional Greek music, Arabian music, avant-garde music, free jazz, jazz rock/fusion, funk, Mediterranean music and classical music. Despite "Maledetti" isn't as good as "Arbeit Macht Frei" or "Crac!", is better than "Caution Radiation Area". It's more balanced and it's less dark, more modern, and especially, it has two of their greatest masterpieces "Diforisma Urbano" and "Gerontocrazia". This is one of the finest and creative works from Area.

"Event '76": The radical concept of music of Area isolated the band from the developments in the music scene. It's hard to found any imitators or followers of them. It remains the courageous and difficult attempt of a radical reinterpretation of music, art and interaction. Area was far ahead of their time on the prog music, which never went down on such a thin ice. If there is one of their works that shows so clearly that radical concept, is "Event '76". It's anything but a reference for the usual proghead. But, who deal with the free forms of jazz and the contemporary music maybe is able to like it.

Conclusion: "The Essential Box Set Collection" is an excellent compilation album of Area. It includes almost all the studio albums from the band with the presence of Demetrio Stratos. The only exception is the absence of their fifth studio album "1978 ? Gli Dei Se Ne Vanno, Gli Arrabbiati Restano!" released in 1978. And that it was really pity, indeed. If "1978 ? Gli Dei Se Ne Vanno, Gli Arrabbiati Restano!" was included, we would have here the complete essential studio works from Area. But, it includes also two live albums. "Are(A)zione", is probably Area's best live album and "Event '76" is, surely, Area's most avant-garde album. So, here we have a great showcase of Area's music, which shows the different facets of Area, their most experimental and their most RPI too. So, this is an excellent package for those who don't have yet all these works. It's always a great introduction to the very own world of Area. It's highly recommended.

Prog is my Ferrari. Jem Godfrey (Frost*)


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Live, 2000
3.89 | 141 ratings

Alive on Planet Earth
The Flower Kings Symphonic Prog

Review by Warthur
Prog Reviewer

The Flower Kings' first live album might well be a stronger release than any of the run of albums from Back To the World of Adventures to Flower Power, simply because it finds them picking out the brightest gems of the band's early albums plus some non-album cuts: mean cover of The Lamb Lies Down On Broadway, a repurposed extract from Kaipa's Inget Nytt Under Solen given the translated title of Nothing New Under the Sun, and a band rendition of a Tomas Bodin solo track, Three Stories.

The set's running hour of just under two hours is actually shorter than Stardust We Are and Flower Power, but it's more than enough to offer a fairly satisfying listening experience which generally goes for a no-filler approach. The album does not present a single complete show with disc 1 providing highlights of a September 1998 appearance in the US and disc 2 derived from a Japanese concert in March 1999, but those dates are close enough together that the setlist doesn't appear to have changed too radically in the intervening time and, of course, the lineup is the same at both shows, so generally the two discs flow together well.

One thing to note is that - unless I've goofed and missed something - there's nothing on here from Flower Power. The Japan gig was recorded after Flower Power was recorded, but before it was released, so there may be a function here of the band opting to keep the powder dry as far as that material was concerned (checking setlist.fm suggests they played an extract from Garden of Dreams, and that's it). This actually avoids a dilemma, since by far the best composition on Flower Power is Garden of Dreams itself - but that monster track is an hour long! Even if the band did play the full thing live, you wouldn't be able to fit it into this set without either adding a third disc (at the risk of causing the listener's attention to flag) or losing a big chunk of the other material.

The Flower Kings have made a point from the start of playing technically challenging material in the studio, and Alive On Planet Earth reveals that they were more than capable even this early in their career of reproducing that onstage. Simply because of the all-killer-no-filler approach when it comes to the band's own material and some sly selections of Kaipa, solo material, and cover versions to spruce things up, I have to say I find it more consistent than any of their 1990s studio albums, though I hasten to add that I don't intend to knock those albums - I just dig this live release that much.


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Studio Album, 1977
3.73 | 294 ratings

Heavy Weather
Weather Report Jazz Rock/Fusion

Review by Saimon

Review #24: Heavy Weather

Heavy Weather was also Weather Report's best selling record. It reached number 30 on the Billboard pop chart, quickly sold nearly half a million copies, and has subsequently gone gold (signifying sales of 500,000 copies). In his January 2001 Down Beat retrospective on the band, Josef Woodard said, "In 2000, Heavy Weather still sounds like a milestone in the cultural unconscious of jazz history. By some accounts, the album is the crowning achievement of the band's recorded output, and therefore, by extension, a towering landmark of 'fusion.'"

Birdland (10/10): Aggressive and gentle jazz with several steady basses and cymbals that warn of the coming rhythmic changes, the beautiful and sensual saxophone accompanying the brilliant melodies of the keyboards and basses. In my opinion, always the most important thing to take into account in an album is the ambience of the beginning... and by God! What a splendid way to start! I was really fascinated with the beauty and magic of the joyful and fantastic sounds that all the instruments made for such a brilliant entrance.

A Remark You Made (5/5): Here we go with a piece, this time, much more sensually intoned, that starts with a bass and a saxophone that, to specify a little, would appear in a movie in which the protagonist arrives tired and desolate of everything to a bar at night, and meets the love of his life for the first time... to give us an idea. A night melody, passionate and as ardent as the summer sun. And how can we forget that excellent piano that acts as an accomplice of the saxophone during the middle of the song, or that synthesizer that enters the scene, about a minute before the end of the song, with those futuristic sounds and so "satirical (to find a suitable term). And Pastorius' unmistakable bass is one thing that drives me crazy when I listen to this again.

Teen Town (6/10): Something faster and shorter. Ever present haihat and bass throwing out random melodies with the saxophone doing the same as if to give some ambience. This is more pure experimental than anything else, so I didn't find much to analyze, heh. it's good, but it doesn't convince me. Harlequin (4/5): A slow keyboard start, and then something more groovy and with synthesizers creating a flying atmosphere. Something to highlight is the piano chaperone that finishes and helps the keyboard between verses. Like the previous track, this is also something more ambient and experimental. All very normal... until near the end, when the drums start to "get angry" and there are abrupt and cool breaks and solos that, to be honest, caught me by surprise and made me give the song some extra points.

Rumba Mama (2/5): It would all start with fade-in clapping that continues with what seems to be some strange stomping, and well... the guy yelling things I don't understand is something that was weird and I was kind of dumbfounded. I really like the percussion that follows that weird act. And meanwhile... the guy still yelling weird stuff... he doesn't seem to learn, but admit it made me laugh a little haha. And yes, he concludes the song with more applause.

Palladium (10/10): We continue with the aggressive and super happy funk music. This song is perfect from any point of view. A sweet melody, some rhythm changes and tuning algorithms from another world, the infallible sax and Yaco's bass, the pop atmosphere that is generated in the environment, the softness with which the synth plays with the background percussion .... Really admirable the work of the band. It's been a long time since I heard something so funk that moved me so much, besides, considering what we heard before with "Rumba Mama", it was a very "voluptuous" and sensational change. I felt like I went from listening to "Anarchy in the U.K. (Sex Pistols)" to "Anonymous II (Focus)", in a way.

The Juggler (4.5/5): First thing to note, I was fascinated by the keyboard riff at the beginning. It was very addictive to finish the track and play it again just to hear that. The drums, as always, starring the changes and the fierce speed so provocative to generate all the time super fluid and interesting rhythmic breaks. The atmosphere full of tension that is generated between the drum and the keyboard I loved it.

Havona (4/5): In this last part of the album the synthesizer takes initial prominence, creating chords and hopeful melodies, so to speak, that introduce us to the last track of "Heavy Weather", another aggressive Jazz, this time more accentuated to the intrepid and subtle, rather than to the passionate. A great piece of action and melodic percussion. I really like the clash he makes when he violently combines the pianos and drum with the cymbal.

I'm not a person who listened to a lot of instrumental stuff, but this really captivated and excited me too much, considering as I said before, the immortal beginning of this adventure. I think if it had lyrics, it would be just as fascinating, but meh..... I can't complain, tremendous piece of work!

8/10, 4 stars. Some of the most sensational and funkiest stuff I've heard in a long time.


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Studio Album, 2020
3.64 | 70 ratings

City Burials
Katatonia Progressive Metal

Review by A Crimson Mellotron
Prog Reviewer

Swedish rockers Katatonia deliver a striking collection of melancholic and atmospheric art rock songs on their eleventh studio release - 2020's 'City Burials', the band's first album after their short 2018-19 hiatus. The brainchild of band leader Jonas Renkse, this haunting album has to be not only one of their most experimental and sonically enticing outputs, but also one of the most finely produced and modern-sounding offerings from Katatonia's already broad catalogue. Each of the eleven songs on this excellent studio album contribute to the overall gripping darkness that encapsulates 'City Burials', also solidifying the impressions one might get from the starkly unsettling but absolutely gorgeous album art photography, which happens to be the work of the very talented Lasse Hoile, known for his work with Steven Wilson over the years.

Quite elegant in its sound, 'City Burials' impresses with the majestic use of the keyboards, the prevalent (and occasionally exotic) ambience and the unnerving electronic sensibility, all of these aspects contributing to the very gloomy but enticing audio treat that is unfolding before the listener. A drastic departure from the more stripped-down rock attitude of its predecessor, 2016's 'The Fall of Hearts', it seems like Katatonia have really taken their time to reflect upon what the band could do more in terms of songwriting, and how they could expand the scope of their music, making 'City Burials' a very bold move that signifies how truly progressive the Swedes still are.

Not a single poor composition here, each one of the forty-eight minutes of this record is wisely used, resulting in one of the most focused rock albums of the year. Opener 'Heart Set to Divide' is a very strong rocker that might serve as a link between the band's previous release and this new one, as it sets a grim tone for the rest of the album. 'Behind the Blood', on the other hand, impresses with the swiveling guitars and the almost-tribal drum sounds. The band follow this up with 'Lacquer', another phenomenal song, that almost has an art-pop edge, then comes 'Rein', one of the heavier songs on 'City Burials' and one of the strongest choruses, too. Just four songs in, and the album is already severely impressive - the atmosphere, the variety, the lyrics, and the songwriting, all on a very high level. Other highlights are certainly 'The Winter of Our Passing', 'Flicker' and 'Neon Epitaph', but as it was mentioned before, each song on this album is just too good.

'City Burials' is very innovative, very far-reaching and forward-thinking, very emotional and quite well-written, or in a word, excellent. It might a couple of years, or maybe even a decade or so, for this album to truly be appreciated for what it is, but Katatonia have certainly achieved something special here, as this should rank among their best works, as this beautiful dark record is highly recommended!


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Studio Album, 1977
3.64 | 75 ratings

Artcane Eclectic Prog

Review by DangHeck

French King Crimson Obsessives Create Heavy Prog with an Avant-Electronic Touch

Thanks is due in great part to Mr. Dereck Higgins. He is a great (and regular) source of Prog Obscura and so much more. His YouTube channel is simply called 'dereckvon', for those unfamiliar.

Released 1977, Artcane's sole album, Odyssee [No, ye other ignorant English speakers, this is not a play on words. Just French haha], was released, in my view, squarely in the second-wave of Progressive Rock. And it strikes as an incredibly long album for the vinyl medium, at a whopping 57 minutes! Nearly an hour long and consisting of, to me, a happy mere 6 tracks.

The title track, "Odyssee" starts us right off. Heavy and interesting enough to immediately catch your attention for what's to come. The keys and guitar, for the most part, ride right alongside one another and the soloing is wonderful. The middle is quieted in stark contrast, with acoustic guitar and very nice vocals in their native French. The synthesizers are awesome! The drumming should also not go unmentioned. Great opener.

I'm not so perturbed as certain other past reviewers (haha, sorry, my goyim) by the blatant KC lifts (sure, they copied or made heavy reference) [at least somewhat] on "Le chant d'Orphee" and [supposedly] more-so on "Novembre". What about the 'greatest form of flattery', guys?... And anyways, these are otherwise great songs (especially the former, in my opinion) that don't necessarily sound like anyone else (certainly not like KC wholly). Still worth your time. Masters of dynamics and use of space. To reiterate, "Le chant..." is certainly where it's at for me.

A futuristic synthesis is embraced wholly, turning things around, on the lengthy "25eme anniversaire" (at 16-minutes' length). And this is the "25th anniversary" of what exactly (glancing back to 1952)? Queen Elizabeth II's inauguration as Queen of the UK?... Are they fans of the Oslo Winter Olympics haha? Or perhaps it's the first British nuclear weapon detonated? Or even the first US detonation of a hydrogen bomb?! A higher likelihood haha. The only super major event involving France is their cofounding of what would become the EU. Who knows? Does anyone care haha? To the track at hand, though, nothing will really happen for anyone who's not a fan of Ambient or 'Progressive Electronic' music for its first 5 minutes. The first bits of interest for me began around minute 7. The guitar solo at minute 10 felt like a 'Finally!' The track does only get better, yet it didn't reach the coveted (haha) 'very good' category for me. I wasn't much happier, really, to be hearing "Artcane 1" thereafter... Until the very end, it's pretty but offers little. So, the ending: great groove, great melodic guitar solo. It's very cool, at least...

And so finally, we have "Nostalgie". A live recording, it has a rougher production than the rest, but it does go to show their abilities as band. It's the second longest track at over 15 minutes. The verse(s) are fine enough, but the best is the bass and the synth. A lot of tension here. It's near the 5 minute mark where it seems they may have spliced two performances together, as the audience enters and fades away. Overall, very impressed by this composition, despite its frankly-not-totally-horrible production. A surefire highlight.


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Studio Album, 2021
4.19 | 124 ratings

Forsaken Innocence
Drifting Sun Neo-Prog

Review by babylonstrange

Scouring the 2021 top 100 list for exciting new prog metal (in vain) I took a chance on this album. I like it a lot and have listened to it 3 times over the last couple of days. Can't say I'm a huge neo-prog fan, but there are a few heavier parts to get the blood pumping. My first reaction was to compare it to the classic Souldoubt album, Dance of Light and Shade, especially the vocals. The album starts off strong with the 11:45 King of the Country, starting prog-folk before rollicking along Wobbleresque. The 2nd track, Insidious, is full-on Neo Prog in all its pomp with a New Wave edge. Lots of emotion - I love it! Credit to the music - the first 20 minutes flies by. Dementium and New Dawn slow the pace down, and ramp up the EMO, without losing the thematic musical concept. Forsaken Innocence Pt. 1 picks up the pace again, more Symphonic than Neo I think, and Pt.2 shows off the band's fine musicianship, and finally lets the guitar loose. If it keeps reminding me of Wobbler that's meant as a compliment. Time to Go feels like a coda but is just a brief interlude before the album wraps up with Hand on Heart, and reprise of the album's concept. Bravo! Give it a spin on Spotify - 945 monthly listeners is a crime for such a good band.


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Studio Album, 1978
3.71 | 382 ratings

Magma Zeuhl

Review by Saimon

Review #23: Attahk

I'm going to try from this point on in my time as a ProgArchives user to try to write my reviews better without a lot of chatter and get straight to the point, complementary and well, just to be clear.

There are some brilliant tracks that never fail to innovate and inspire the listener, like Last Seven Minutes, which has Zeuhl's signature heavy bass, operatic vocals, Vander's screams, a great funk feel, a high energy song. It starts with aggressive jazz concentrated on piano and drums. At first, one thinks "this is battle music", but in reality this is only true for the first song. Then it gets weirder, as it becomes possibly the most accessible and diverse album Vander has ever had.

Before listening to Attahk, you have to be clear that you will be expecting a LITE version of what Magma is, because if you go out of your way to play something like his other albums, you will end up being disappointed like I was.

On Attahk, Magma is closer to "typical" fusion than on any previous (or later) album. Gone are the long side/album length epics, to be replaced by shorter, more accessible tracks. What hasn't disappeared is the incredible drumming, the out-of-this-world bass and Koba�an's lyrics. On this album, Magma has a strong funk/R&B/soul influence that separates it from previous albums. As a new listener of this band, I must say that it was not my best choice to start with "Mekan�k Destrukt�w Kommand�h", because after that wonder, I don't think any other album could excite me as much, but anyway. I feel, to my personal taste, that this album loses the powerful touch that made Magma so popular during the mid 70's. Beyond how ambiguous and strange the album sounds, I think it's of great quality. But how to say it... I just don't like it. It seems to me something very inferior in terms of his other works.

6.6/10, 3 stars. Even if they tell me it's a great album, I'm not really going to care much about how they want to discuss it, because to be honest I ended up finding it kind of boring. It's not something I'd listen to at home, or to experience new albums. But I guess part of the disappointment was that I had very high expectations, expecting this to be like their previous works.


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Studio Album, 2018
3.88 | 152 ratings

El Eco Del Sol
Bubu Eclectic Prog

Review by DangHeck

El Eco del Sol is their first release in 40 years! My interest was of course piqued as I became familiar with their first, Anabelas (1978, to make it clear), frankly a near-unsung essential in second-wave Prog. Reformed in 2016 with new membership, this Argentinian band then released a 3-song EP, its contents all available here.

Grandiose, angelic vocals introduce the album on "Resplandor", not unreminiscent to me of Yes harmonically, but also making me think, especially as the song moves around minute 1, of modern Zeuhl beloveds Universal Totem Orchestra. I'm really looking forward to this. Excellent song. Dark, complex, featuring horns and strings, not to mention once more the epic group vocals.

Of a softer tone, "El Eco del Sol", near-cognate for 'The Echo of the Sun', builds within the first half. Great, classic track. The quieted shift around the midpoint is a definite highlight. Around minute 6 is yet another shift. Great beat, great melody--likewise at its end.

"Ariel" was lovely. What else is there to say? haha. Appropriately followed by the at first even-more-mellow "Omer". Feels like light Van Der Graaf? The song then picks up with the whole ensemble. Very nice. The middle section is very modern yet timeless. All the more lovely in my opinion.

The low mix for "Cielo Negro" is a very odd choice. Sticks out like a very muddy sore thumb. Very tense instrumentation set atop a rolling bassline. The sax solo around minute 4? Very nice. The song itself is quite good; I love the composition. Just odd production-wise... Perhaps never remastered for the LP release (as this is one of, and the last of, the 3 tracks originally on the aforementioned EP).

No comment on the title "Penas"... Although, I guess me introducing it so is a comment in itself haha. It means 'Penalties' in Spanish, and indeed, rightly tense to fit that theme. Indeed, the first 3 minutes are a soft build driven by bass and a steady rhythm on the ride. The build and the tension is worth the wait, as it breaks at minute 3 (exactly?) to intense groove. Given its more static composition, I'm delighted to say this is a favorite for me, first listen. Specifically, in the second half, there is a riff that rolls, exchanged by the guitar, violin and sax to produce a wonderful effect.

"Por la mañana" is another that delightfully mixes older progressive idioms with freshness. Excellent composition, excellent melodies once more. Especially as it builds to end. And finally is "La Vaca Roja", a song of shifting feel and shades. Certainly a phenomenal closer.

I wasn't necessarily expecting more, so I was very pleased with this latter-day album. I'm just excited to see what else they may do in the coming years, as it's already been 3+ years since this release.


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Studio Album, 1999
3.17 | 23 ratings

Bone Idol
Moom Canterbury Scene

Review by DangHeck

The 1999 sophomore and final release by UK's Canterbury-inspired[?] Moom, Bone Idol, which starts off with a surprisingly twangy spacy Fusion on "I, Structure". It unexpectedly reminds me of jam band Widespread Panic. Most notable to me is the bass playing. Melodic and complex. The more modern, funky Fusion elements remind me specifically of Dopapod, formed in Boston some 9 years after. Perhaps [but not really] where I first hear something like 'Canterbury Sound' in this is on "Rusty Can", but Kentish quirk is not anything like this sort of silliness... I'm not into it.

"Non-Specific Highway" feels a bit more confident. The vocals are not a highlight, but the melodies are nice. More twangy guitar over cool, fun playing. This is truly the first bit that sounds like Kent, most reminiscent of the free, hippie vibe of Caravan. Another fun track is what follows in "Petrol", which strangely reminded of George Harrison early on. But if he was more daring.

"Gideon's Pier" feels like some more modern Jamming. Twangy Dead vibes galore. This will appeal to a... very special kind of Canterbury fan...

"Ship to Harbour" (hello, Brits haha) is soft and sweet. As well as the soloing itself in the second half. "What's a Little Sunshine" didn't have much to offer me (decent solo at the end).

"Rooftops" on the other hand has some great rhythm to start. The vocals and the lyrics... not so great. Weird, but not charming haha. I disliked it for a different reason entirely, then. It's followed by the acoustic "I've Been Grown". It existed. And that's how they 'end' the album, hidden track aside?! I'm not so sure...

"Woodland" is said hidden track, a boisterous UK Jam, for sure. Things pick up in the second half for the better. But nothing could have saved the weaker tracks throughout to really pick this album up. Too bad. I'm working backwards, so we'll see how their first is (some day; I'm in no rush).

True Rate: 2.5/5.0


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Studio Album, 2022
2.00 | 1 ratings

PIke 304 - Rainbow Bridge
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

— First review of this album —
BUCKETHEAD has been quite erratic in releasing PIKEs in the last couple of years but it seems like 2022 is when the chicken lover is turning on the spigot once again to let the PIKEs flow! PIKE 304 - RAINBOW BRIDGE features four tracks and only reaches over the 27-minute mark. This one is the second release in 2022 and is the typical PIKE of being digitally downloadable and featuring BH playing all instruments.

The opening title track is a rather generic affair featuring one of those heavy rock riffing sessions and sounds like pretty much a gazillion other eggs that have already hatched. Some of BH's PIKEs are heavy enough to qualify as metal but this one is a little bit more laid back and should be considered heavy alternative rock. The title track is a throwaway in my book. I've long grown weary of redundancy. 
"Toy Museum" is quite a different story however and is quite refreshingly new. Something about the combination of the atmosphere, the guitar tones, the unique style of riffing and steady beat that makes this one a real treat. It has some nice gurgling guitar effects which sort of replicate turntablism. It's also the longest track at over 10 minutes. BH's instrumentals are so hit and miss. This one is a hit.

"Water Molecule" is a funky hard rock number that sounds something like the Red Hot Chili Peppers may have conjured up in the 1990s only without the bass guitar antics of Flea. The guitar riffs though are more rooted to 1970s bluesy hard rock like Aerosmith, Robert Trower or UFO. It's officially OK but nothing outstanding either. It's a little feistier and fast tempoed than 70s hard rock and this track straddles on the line of being metal and hard rock.

"Invisible Trees" continues the bluesy hard rock riffing but a bit calmer than the previous track. Basically same pattern with guitar riffs, muffled bass and uninspired drumming. This one is probably the most authentically 70s sounding hard rock track. The problem with this is that the lack of vocals make this sound a bit empty. That's the problem with many of these PIKEs actually. If there are trees somewhere i can't see them!

Another mediocre PIKE here. Once again, nothing offensively bad or unlistenable but nothing that will blow your mind either. "Toy Museum" is the best track and the only one that offers something a bit different otherwise this sounds like one of those assembly line PIKEs that will be quickly forgotten at least by my ears. Oh well, i'm sure another PIKE will hatch soon. Until then, hasta la vista!

2.5 rounded down


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  1. Close to the Edge
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  3. Wish You Were Here
    Pink Floyd
  4. In the Court of the Crimson King
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  5. Thick as a Brick
    Jethro Tull
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  9. Animals
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    Premiata Forneria Marconi (PFM)
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  23. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  24. Hybris
  25. From Silence to Somewhere
  26. Kind of Blue
    Miles Davis
  27. In a Glass House
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  28. Si on avait besoin d'une cinqui�me saison
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  30. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  31. A Farewell to Kings
  32. Birds of Fire
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  33. H To He, Who Am The Only One
    Van Der Graaf Generator
  34. The Lamb Lies Down on Broadway
  35. The Yes Album
  36. Metropolis Part 2 - Scenes from a Memory
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  37. Images and Words
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  38. Octopus
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  42. Meddle
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  44. Scheherazade and Other Stories
  45. Crime of the Century
  46. Zarathustra
    Museo Rosenbach
  47. Still Life
    Van Der Graaf Generator
  48. The Silent Corner And The Empty Stage
    Peter Hammill
  49. Still Life
  50. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  51. Free Hand
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  52. Ommadawn
    Mike Oldfield
  53. A Trick of the Tail
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    Robert Wyatt
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  60. Fear Of A Blank Planet
    Porcupine Tree
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    Mahavishnu Orchestra
  63. Depois do Fim
  64. In Absentia
    Porcupine Tree
  65. Mekan�k Destrukt�w Kommand�h
  66. Romantic Warrior
    Return To Forever
  67. Ghost Reveries
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  68. Hatfield and the North
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  69. A Drop of Light
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  70. Misplaced Childhood
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  72. Space Shanty
  73. Symbolic
  74. Radio Gnome Invisible Vol. 3 - You
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  76. Arbeit Macht Frei
  77. Voyage of the Acolyte
    Steve Hackett
  78. Script for a Jester's Tear
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  80. Emerson Lake & Palmer
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  81. Spectrum
    Billy Cobham
  82. Obscura
  83. In A Silent Way
    Miles Davis
  84. If I Could Do It All Over Again, I'd Do It All Over You
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  86. Bitches Brew
    Miles Davis
  87. The Road of Bones
  88. Maxophone
  89. Felona E Sorona
    Le Orme
  90. Sing to God
  91. 4 visions
  92. Ys
    Il Balletto Di Bronzo
  93. Crimson
    Edge Of Sanity
  94. Remedy Lane
    Pain Of Salvation
  95. Anabelas
  96. K.A (K�hntark�sz Anteria)
  97. Elegant Gypsy
    Al DiMeola
  98. Operation: Mindcrime
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    Pain Of Salvation
  100. H�xan
    Art Zoyd

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